I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it’s still nothing but a copy.
ABBAS KIAROSTAMIPeople have curiosity, they have intelligence, they have interest in understanding their peers. But producers and directors of cinema have decided that the seats in the theaters have been made to transform people’s minds to lazy minds.
More Abbas Kiarostami Quotes
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I do believe in [Robert] Bresson’s method of creation through omission, not through addition.
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When I find the character, I try to spend time with them and get to know them very well. Therefore my notes are not from the character that I had in my mind before, but are instead based on the people I’ve met in real life.
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Children are very strong and independent characters and can come up with more interesting things than Marlon Brando, and it’s sometimes very difficult to direct or order them to do something.
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I prefer the countryside to cities. This is also true of my films: I have made more films in rural societies, and villages, than in towns.
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I’ve often noticed that we are not able to look at what we have in front of us, unless it’s inside a frame.
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I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don’t use my camera anymore as a camera. I don’t feel it as a camera.
ABBAS KIAROSTAMI -
You’ve noticed that same joke told by two different people, once works, and the other time doesn’t, simply because how the person edits it. The silences, the pauses, what they neglect, what they emphasize – all of this matters.
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Silence doesn’t seem heavy or difficult.
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My car’s my best friend. My office. My home. My location. I have a very intimate sense when I am in a car with someone next to me. We’re in the most comfortable seats because we’re not facing each other, but sitting side by side.
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Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.
ABBAS KIAROSTAMI -
In my experience as a director, I think there is obviously something of the way men – maybe that’s a common point with Shirin – the way men see women in the film, and the way these two characters see each other.
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I remember when I came out of an exam thinking I had done well and then I had a clue that maybe one answer was wrong, I remembered that I rather stop knowing, stop thinking about it, appreciating life instead.
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I thought that choosing a non-professional was a condition for me, because it would allow Juliette to have a less-professional way of acting. It would challenge her performance as a professional actress.
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The digital camera has given me total freedom and a different way of filming.
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I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.
ABBAS KIAROSTAMI